mango lady

source: saatchigallery

Made with Jesse Greenberg, Mango Lady was originally shown in Ryan Trecartin’s exhibition I Smell Pregnant, a vast multi-room installation incorporating painting, video, and sculpture as a 3 dimensional ‘set’ and ‘narrative’ rolled into one. Facing the wall, she squats as some repulsive vegan-hippie-fertility totem, all co-ed haircut and pendulous breasts. Deliciously scabby, her entire body is plated in dried fruit. Conceiving his installations as a series of potentials rather than faits accomplis, Trecartin’s work openly shares the processes of its making, each piece relating to the next, forming a free-flow dialogue of strategies, approaches, and ideas. His figurative sculptures act as ‘anchors’ within his shows, creating relationships and conversations with each other, and providing recognisable ‘bridges’ between the viewer and the other work in the gallery. Posited between the familiar and the completely surreal, each sculpture conveys a character or ‘type’ specially cast for the scene.
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source: artspycn

Mango Lady 是 Ryan Trecartin 与 Jesse Greenberg 共同创作的，作品最初是在 Ryan Trecartin 的 I Smell Pregnant 之展上展出的，那是一个巨大的多展室装置，由绘画、录象和雕塑构成一个三维的 “ 布景 ” 和 “ 故事 ” 整体。她面向墙壁蹲着，令人讨厌的样子就象是某种素食 － 嬉皮 － 生育力的图腾，女学生的发型、下垂的乳房。她的全身用干果覆盖，形成一层可口的痂状外表。Trecartin 将他的装置设计成一系列有潜能的事物，而非既成事实，他的作品公开展示其制作过程，每件作品与下一件均有关联，形成策略、方法和观点之间的自由流动的对话。他的人物雕塑是展览中的 “ 支柱 ” ，建立相互的关系和对话，并在观众与画廊的其它作品之间搭建起可辨认的 “ 桥梁 ” 。每件雕塑都被安置于熟悉的及完全超现实之间，传达一个专为场景铸造的角色或 “ 类型 ” 。

Ryan Trecartin 的作品测试了作者和创意过程的边界。Trecartin 以一种 So Solid Crew 的风格，设计了社会力量周围的策略与美学。Lizzie、Jesse、Kenny、Brian、Rhett、Lindsay 以及其他很多人，他们均以各自的方式提供帮助，每件均可在场景中随意创作。Trecartin 指挥协调着一个大型的艺术家团体，提供统一的愿景平台，收集协作者的各种想法。他的作品往往完全由其他艺术家设计并完成，有些作品是在精确的指导下完成，有些完成的作品就象是模拟游戏中的 “ 任务 ” 。Trecartin 也亲自创作。基于集体价值、自发性及相互支持，Trecartin 巧妙地创建了一个共同的愿景，呈现出没有自我的一个共同实践过程。作品 Mother 体现了这种和谐精神。特大的造型、有些查尔斯 － 雷式怪异，她的高大形象闪耀着 DIY 女家长的光彩。她那耙子般瘦长、纸糊材料般粗笨的完美造型是 Rhett LaRue 的最佳努力结果。
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source: saatchigallery

Structuring his art practice in the same way as a director approaches film making, Ryan Trecartin’s sculptural and installation work incorporates a cast of dozens. Conceiving each show as an experiment in theatrical production, Trecartin conceives loose plots as a basis for collaborative endeavour. Working with a posse of his close mates, Trecartin delegates responsibility: inviting his friends to participate in the creative process, respond to his ideas, and contribute their own input and artwork. Through this unorthodox way of working, Trecartin’s work becomes an uncanny reflection of youth culture, presenting a Gen Y zeitgeist of commodity anxiety, spiritual nihilism, and community value.

Trecartin is currently living in LA as a hurricane Katrina refugee; World Wall was conceived as a form of disaster therapy. Working with fellow artist Lizzie Fitch, the project was begun as a simple wooden fence. Enhanced through a series of Mardi Gras float making techniques, this work evolved into a diaristic tribute to New Orleans, a means of engaging with dislocation and loss. Conceived as both a location and living organism, World Wall sprawls with animistic fervour, a seething monument of chaos, festivity, rebirth, and beauty. Through the window, a picture can be seen of the ruins of Trecartin’s old house.